Savarin 5
26 x 20 1/2 inchesSavarin 5 (Corpse & Mirror) (ULAE 195), 1978
paper: 26 x 20 1/2 inches
image: 16 1/2 by 13 inches
frame: 27 1/8 x 21 inches
edition: 42 with 5 AP's & 3 PP's
signed & dated lower right, numbered lower left, in pencil
ULAE blindstamp bottom left
printed by: Bill Goldston, James V. Smith, Keith Brintzenhofe
published by: Universal Limited Art Editions, 1979
© 2024 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY
Literature
Judith Goldman, Jasper Johns Prints 1977-1981, Thomas Segal Gallery, Boston, MA, 1981, n.p., Segal 9, another impression reproduced full page black and white.
Judith Goldman, American Prints: Process & ProofsThe Whitney Museum of American Art, New York, 1982, pg. 101, another impression reproduced full page black and white.
Shigeo Chiba, Jasper Johns Prints Exhibition 1960–1989, Tokyo, 1990, Japan Art and Culture Association/Kokusai Geijutsu Bunka Shinkokai, n.p., plate 65, another impression reproduced.
Riva Castleman Jasper Johns: A Print Retrospective, New York: The Museum of Modern Art; Boston: New York Graphic Society, Books/Little Brown and Company, 1986, pg 98, another impression reproduced in full-page color.
Michel Butor, Kathleen Slavin, Jasper Johns Gravures Dessins 1960-1991, Foundation Vincent Van Gogh, 1992, no. 65, pg. 115, another impression reproduced in full-page color.
Richard Field, The Prints of Jasper Johns 1960-1993: A Catalogue Raisonne, ULAE, New York, 1994, Catalogue Reference ULAE 195, n.p., another impression reproduced in full-page color.
Susan Lorence, Technique and Collaboration in the Prints of Jasper Johns, Castelli Gallery, New York, 1996, Catalogue Reference 27, n.p., another impression reproduced in black and white
The Whitney Museum of American Art, New York, American Prints: Process & Proofs, November 25, 1981-January 24, 1982, another impression exhibited.
The Museum of Modern Art, New York, Jasper Johns: A Print Retrospective, May 19–Aug 19, 1986, another impression exhibited.
The Seibu Museum of Art, Tokyo, Prints Exhibition 1960–1989, Traveled to The Seibu Department Store, Isetan Museum of Art, Tokyo, April 26th—May 15th, 1990, Isetan Department Store, Niigata, June 7-19, 1990, Isetan Department Store, Urawa, July 18-24, 1990, Isetan Department Store, Matsudo, August 9—August 14, 1990, Isetan Department Store, Shizuoka, August 23—August 28, 1990, another impression exhibited.
The Atkinson, Southport, Warhol to Walker: American prints from pop art to today, January 13, 2018–March 10, 2018, other impression exhibited.
The Museum of Modern Art, New York, An Art of Changes: Jasper Johns Prints, 1960–2018, October 12–January 20, 2020, another impression exhibited; exhibition traveled to these venues:
Walker Art Center, Minneapolis, February 16, 2020–January 3, 2021
Tampa Art Museum, Florida, April 28–September 5, 2021
Grand Rapids Art Museum, Michigan, October 2–January 9, 2022
Parrish Art Museum, Water Mill, New York, April 23–July 10, 2022
Whitney Museum of American Art, New York, Jasper Johns Mind/Mirror, September 29, 2021 - February 13, 2022, another impression exhibited.
Selected Museum Collections
Walker Art Center, Minneapolis
Museum of Modern Art, New York
National Gallery of Art, Washington D.C.
The Broad Museum, Los Angeles
The Cleveland Museum of Art, Los Angeles
Additional Photos
Image Detail
Image Detail
Signature & Date lower right
Edition & ULAE blinstamp lower left
Jasper Johns made a life-size painted bronzed sculpture based on a Savarin coffee can that he used to hold paintbrushes in his studio. The Savarin can, which may be interpreted as a surrogate for Johns, debuted in his work as a painted bronze sculpture in 1960. He returned to the image in mid-1970's with a series of prints exploring variations on the Savarin Can.
JASPER JOHNS SAVARIN CORPSE & MIRROR
Jasper Johns made a life-size painted bronzed sculpture based on a Savarin coffee can that he used to hold paintbrushes in his studio. The Savarin can, which may be interpreted as a surrogate for Johns, debuted in his work as a painted bronze sculpture in 1960. He returned to the image in mid-1970's with a series of prints exploring variations on the Savarin Can.
In 1978, Johns remarked, "In my early work I tried to hide my personality, my psychological state, my emotionsbut eventually it seemed like a losing battle. Finally one must drop the reserve." For much of Johns' career, he masked his p ownresence in his art with subjects like Flags, Targetsand Maps. It is only the "painterly-ness" that hints to the artist's hand. In Savarin though, Johns begins to reveal himself. Through his handling of the materials, Johns invoked the traditional art historical subject of an artist in his/her atelier or studio. Johns resisted painting a traditional self-portraitand instead, he substituted his instruments for himself. In the Savarin works Johns placed the Savarin can/himself as the dominate object/subject. He displays the tools used in art making as an extension if himself.
An impression of Johns Savarin was included in Focus: Jasper Johns Dec 5, 2008–Feb 16, 2009 at the Museum of Modern Art, New York
Another impression of Jasper Johns' Savarin was included in Jasper Johns: Mind/Mirror, the simultaneous Jasper Johns retrospective jointly organized at the Philadelphia Museum and The Whitney Museum of American Art. This massive exhibition which took place simultaneously in both museums was the largest retrospective exhibition ever devoted to the Artist. From his iconic flags to lesser-known and recent works, the exhibition will feature paintings, sculptures, drawingsand prints-nearly 500 artworks across the two museums, many of which are from Johns’s personal collection and will be shown publicly for the first time. Inspired by the Jasper Johns’ long-standing fascination with mirroring and doubles, each half of the exhibition will act as a reflection of the other, inviting viewers to look closely to discover the themes, methodsand coded visual language that echo across the two venues.
The condition of Jasper Johns prints plays a pivotal role in preserving the integrity and value of these artworks. The presence of mat staining, fox marks and attenuated colors can significantly impact the overall aesthetic and historical integrity of these artworks. When considering a purchase of a Jasper Johns print, it is crucial to be wary of dealers who claim prints are in good condition despite such issues, as this may be a deliberate attempt to mislead buyers. Transparency is imperative in the art market and dealers who purposefully omit condition details are not acting in the best interest of the collector. It is also advisable to avoid dealers who artificially enhance colors in photos, distorting the true condition of the artwork. Choosing dealers who provide accurate representations, even if it reveals imperfections, ensures that buyers make well-informed decisions, maintaining the authenticity and value of Jasper Johns prints over time.
#JasperJohns Savarin 5 Corpse & Mirror, 1978 color lithograph, edition 29/42 fetched $34,020 @ChristiesInc 4/20/2023 even though impression is extremely faded. https://t.co/Vqb3yOWzHe pic.twitter.com/GjJMc8y36f
— Joseph K. Levene Fine Art, Ltd. (@JKLFA) April 20, 2023
